3D Signal Modelling for Chinese National Opera with Intelligent Application on Chinese Vocal Music

2021 ◽  
Author(s):  
Gui Zhang
Keyword(s):  
Vocal Music ◽  
National Opera ◽  
Signal Modelling

Two opera composers

Tempo ◽  
1969 ◽  
pp. 10-19
Author(s):  
Imre Fábián
Keyword(s):  
Vocal Music ◽  
Point Of View ◽  
Two Stage ◽  
Choral Works ◽  
The Road ◽  
Crucial Problem ◽  
National Opera ◽  
Great Merit ◽  
The Creation

There is no strong opera tradition in Hungary. The founder of our national opera literature, Liszt's contemporary Ferenc Erkel, clung chiefly to the ‘verbunkos’ style as a characteristic Hungarian element in his attempts to form a national operatic style. He succeeded in fusing this with the style of his Italian models, and this was his great merit as a composer. But he left unsolved the crucial problem: the creation of a melodic style arising out of the characteristic accentuation of Hungarian speech, out of the spirit of the language. From this point of view Bartók was the epoch-making master. Bluebeard's Castle was the historic event in the rise of new Hungarian opera. As Kodály wrote after the première: “Bartók has taken the road to liberating the language, transforming its natural inflexions into music, thereby greatly furthering the emergence of a Hungarian recitative style. This is the first Hungarian operatic work in which the singing is consistent from first to last, free from all jarring prosody”. But Bartók's opera had no successors. The two stage works of Kodály, whose feeling for drama and theatre was not strong, were more in the nature of experiments, and were so intended by their composer. The following generation could hardly have made any progress in the direction indicated by them—though there was much that later opera composers could learn from his other vocal music, the songs and the choral works.

Beyond Drama: Monteverdi, Marino, and the Sixth Book of Madrigals (1614)

2016 ◽  
Vol 69 (1) ◽  
pp. 1-46
Author(s):  
Tim Carter
Keyword(s):  
Seventeenth Century ◽  
Vocal Music ◽  
Downward Spiral ◽  
Giambattista Marino

Monteverdi's Il sesto libro de madrigali a cinque voci (1614) is often viewed as an outlier in his secular output. His Fourth and Fifth Books (1603, 1605) were firmly embroiled in the controversy with Artusi over the seconda pratica, while his Seventh (1619) sees him shifting style in favor of the new trends that were starting to dominate music in early seventeenth-century Italy: the Sixth Book falls between the cracks. But it also suffers—in modern eyes, at least—for the fact that it reflects the composer's first encounters with the poetry of Giambattista Marino, marking what many see as the start of a fundamental reorientation, if not downward spiral, in his secular vocal music. The problems are exposed by one of the Marino settings in the Sixth Book, “Batto, qui pianse Ergasto: ecco la riva,” in which an unnamed speaker tells Batto how Ergasto has been abandoned by Clori. The text has often been misunderstood. Uncovering the sources for the story—and the literary identities of Batto, Ergasto, and Clori—forces a new reading of the poetry and more particularly of Monteverdi's music. It also answers some profound questions in terms of how best to address issues of narration and representation, and of diegesis and mimesis, in this complex repertory.

Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century

2019 ◽  
pp. 500-515
Author(s):  
Nataliia Kosaniak
Keyword(s):  
Choral Music ◽  
Instrumental Music ◽  
Symphony Orchestra ◽  
Vocal Music ◽  
The United States ◽  
Musical Life ◽  
Western European ◽  
Vocal Works ◽  
Post War ◽  
Talented Artist

Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.

The American Opera Company

2017 ◽  
Author(s):  
Katherine K. Preston
Keyword(s):  
New York ◽  
Middle Class ◽  
General Public ◽  
English Language ◽  
General Lack ◽  
American Opera ◽  
National Opera ◽  
Public Society

This chapter focuses on the philanthropist Jeannette Thurber, who founded the American (National) Opera Company (1885) to encourage high-caliber performances of continental operas translated into English. Her company was heavily subsidized by New York society and supported by establishment music critics. But both Thurber and her musical director Theodore Thomas misunderstood the American opera audience, and mounted serious works designed for cultural uplift, to the neglect of Italian and French operas that were popular among the general public. Society members were not interested in English-language opera because it was not sufficiently exclusive; middle-class operagoers were repelled both by the trappings of elitism and the expensive tickets. A close reinterpretation of the company’s failure reveals much about American operatic taste; it is also important in the context of this book because scholars have blamed the company’s spectacular demise on a general lack of support for English-language opera.

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